Stage 1 (Crngrob)

Corpus » Succursal church of the Annunciation

Interactive drawing

Art-historical analysis

Several stylistically diverse medieval murals have been preserved in the Church of the Annunciation in Crngrob, some of which date as far back as around 1380. The latter represent the oldest mural layers in the church, but they can be found in various parts of the church and do not originate from the same period. The oldest surviving mural layer is a fragment of the Crucifixion scene on the eastern wall of the northern aisle, which is partly covered by the remains of the Coronation of Mary scene and is variously dated in the literature.[1] The estimate most frequently stated in the relevant literature is that it predates the Coronation of Mary, while France Stele and Tanja Zimmermann estimate that the works were created in the same period.[2] The Crucifixion scene implicitly proves that, at the time, the church featured an eastern termination or chancel.[3] The mural is a Crucifixion with five figures, of which only three images have survived.[4] Christ is painted on a low cross with his head tilted to one side, his arms outstretched, his eyes and mouth open, and his body notably arched.[5] Two female figures are portrayed on his right: Mary and an unidentified person,[6] while the part of the scene to his left has been completely destroyed.[7]

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[1] STELE 1935, p. 41; VEIDER 1936, pp. 6–7; STELE 1938, p. 95; STELE 1962, p. 17; STELE 1972, p. 52; HÖFLER 1996, pp. 87–88; ZIMMERMANN 1996, pp. 59–60; KOMAN 2000, pp. 28–29; KRIŽNAR 2006, p. 137.
[2] STELE 1938, p. 95, states that the Crucifixion was painted over the Coronation of Mary scene. However, this claim is not repeated in the more recent literature. Instead, we can read that the Coronation of Mary was painted over the Crucifixion scene (e.g. HÖFLER 1996, p. 87).
[3] CERKOVNIK 2013, p. 119.
[4] HÖFLER 1996, p. 87.
[5] HÖFLER 1996, p. 87; ZIMMERMANN 1996, pp. 59–60; KOMAN 2000, p. 28.
[6] HÖFLER 1996, p. 87; KOMAN 2000, p. 28.
[7] HÖFLER 1996, p. 87. VEIDER 1936, pp. 6–7, states that “three other individuals with beautiful faces” are portrayed on Christ’s right (i.e. on the viewer’s left), while the right side of the scene had already been destroyed by then. HÖFLER 1996, p. 87, only discerns two figures next to Christ on the viewer’s left. Meanwhile, KRIŽNAR 2006, p. 137, states that three figures have been preserved on the viewer’s left side, next to Christ in the centre.

The scene of the Crucifixion is destroyed to the right of the Crucified.

The Crucifixion scene belongs to the transition from the zig-zag to the linear style at the end of the 13th century.[1] The preserved figures are distinguished by the elegance of their slender bodies, slightly tilted backwards, which is noticeable despite the coats they are wearing.[2] Christ is portrayed as a skinny man with long arms and legs and a sunken chest.[3]

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[1] HÖFLER 1996, p. 87; KOMAN 1998, p. 128; KRIŽNAR 2006, p. 137.
[2] KRIŽNAR 2006, p. 137.
[3] KRIŽNAR 2006, p. 137.

The mural has been dated to the end of the 13th century.[1]

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[1] STELE 1962, p. 17; HÖFLER 1996, p. 87; KOMAN 2000, p. 20.

Unknown.

Because of the arrangement of the figures into two symmetrical groups on either side of the cross, the scene is said to be reminiscent of the Crucifixion painted in St Catherine’s Chapel in The Karlstejn Castle in Czechia.[1]

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[1] STELE 1935, p. 41; STELE 1962, p. 17; ZIMMERMANN 1996, p. 60.

Technical analysis

Pigments: white lime, yellow and red earth, carbon black, lead pigment (lead white?)

Analytical techniques: SEM-EDX

No plaster samples have been taken. However, a close in situ examination shows that it is extremely solid and probably applied in a single layer, which is typical of the period.

Although the mural features yellow, red, purple, green, and blue colours, only a sample of the purple was taken from the drapery of the female saint in the leftmost corner of the scene (fig. 1). The results of the analysis revealed that the purple pigment is of earth origin (the presence of Fe, Si, Mg, Al), i.e. it is burned red earth. The considerable calcium carbonate content indicates that the painter must have applied the colour on fresh plaster, which means that the lime from the plaster served as a binder. The presence of lead is unusual, suggesting the possibility that some sort of lead pigment might have been used: perhaps the painter mixed the earth pigment with lead white, or maybe he added minium to the red, which is less likely. The lead pigment may also have resulted from the retouching during the restoration performed before the end of the 19th century when the use of lead pigments was largely abandoned because of their toxicity. The blue colour appears to have been applied directly to the plaster. It is probably a mixed colour made of black (charcoal), white (white lime), and red (red ochre), which is also a feature of the other works created by this workshop. Considering their tone, the other pigments (yellow, red, green) are of inorganic earth origin.

The underdrawing, local tones, and underpainting were applied to fresh plaster, which is why this colour layer is also well preserved. The incisions (Christ’s halo) also prove that the painter worked on a fresh painting base, while he probably finished the painting dry, as indicated by some colour residues that are peeling away from the base.

Consistent with the early date of the mural, there is no sinopia yet. The preparatory drawing on the intonaco was made directly on the fresh plaster with a dark red colour, as it is exceptionally durable. It can be seen on the faces and schematically outlined hair, as well as on the lines of the broken folds of the draperies. The artist incised Christ’s halo and the edges of the bordure into fresh plaster with a very thin line, but there are no pouncings. The modelling is based on the local tones in yellow, green, and red colours, delineated by the underdrawing. The painter obviously applied fresh plaster to all the larger surfaces, as they are very durable and adhere well to the base. With regard to the cloaks of the female saints to the left of the Crucified, we can speak of an underpainting, as the painter apparently applied a darker purple over the light red basic layer, thus increasing the colour’s intensity (fig. 1). The colour modelling on both the draperies and the faces has generally not been preserved, but it is likely that the painter applied the colours over the local tones al secco, which is why they have mostly fallen off. To apply colour to larger surfaces, he used broader brushes and then painted the folds in a single stroke, also with a wider brush, which can be discerned in the few places where the upper layer of modelling still exists.

Gallery

Virtual 360° view

Crngrob, Succursal church of the Annunciation, Stage 1 (Crngrob), 2024 (last updated 2. 9. 2024). Corpus picturarum muralium medii aevi, https://corpuspicturarum.zrc-sazu.si/en/poslikava/phase-1-crngrob/ (19. 1. 2026).

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